HOW TO TURN VERTICE INTO A COMPLETE RAW STANDALONE SYNTHESIS SYSTEM
As mentioned at
page 26 you can obtain "something that oscillates" using the audio feedback over one
filter. We will use the inside noise to create an amplified loop, a classic "positive feedback" approach. A positive
feedback is something that increases itself by increasing itself. I know it's disturbing to read a sentence like this
but it is the only way I can imagine to briefly explain this concept.
Here is the simple "all-my-standard-oscillators-are-gone-and-I-feel-so-alone" method:
- the start position can be the simple LP serial mode: A serial to B, B serial to C, all LP
- overload function ON. This will boost the self noise of A filter helping the positive feedback
- A Rear output into A Front Audio input
- B and C Cutoffs fully clockwise
- MCf = flat
- A Cf = flat
- now raise the A audio level: the A filter will oscillate in a almost-triangle wave. You will realize soon that the
audio level doesn't only start the oscillation but it also is an effective "pitch" command
- if you open the A Cf you will see an huge accumulation of harmonics, your almost triangle is becoming a nasty
squarewave
- if you close one of the remaining cutoffs, B or C, you will cut away the squarewave, as usual
That's funny isn't it? Now you have a drone-like complete synth with redundant filter chain just
not
using Vertice
for what it was thought for... interesting...
Now is up to you. I'm sure you're craving for experiments, like moving the Emphasis level or changing the Mode:
every command here can cause really strange effects so why don't try? You will soon realize that this feedback
is preeminently generated around the C
f
frequency position and changing that position often generate a very
musical half tone difference from the foundamental note, besides changing the waveform. So you absolutely
have
to try to drive the MC
f
with percussive audio loop. You will be astonished by the bassline you can
automatically produce with VERTICE, both in normal or in inverted mode. Remember that also your EG can
easily oscillate into audio range. And you have TWO output for it, one of which can directly be used like an audio
input for, let me see, the B filter, or the C! From now on you can forget your 150000$ modular system of whom
we spoke before. Well... maybe.
This feedback method can also be applied to the B filter but the results are less stunning because of the lack of
the Overload function. Just raise up the input level to the max and oscillation is almost mandatory but in a quite
limited low frequency range.
Better reactions can be obtained using the Mono/Parallel or Stereo/Serial signals like audio feedbacks, since
they are after the VCAs, and you know that our VCAs are tough guys. Strong signals make selfoscillation become
easy.
Changing the Mode also improves oscillation chances, but it also moves your "VCO" to "some octave up". BP has
a more low "native octave" than HP that reaches the more high frequencies range in this "do-it-yourself-filter-
oscillator".
What is really cool, in our humble opinion, is the fact that Vertice is a filterbank but you can use it also alone and
its sound palette still remains huge and charming.
And, by-the-way, try to obtain this kind of trick with a VST... this is a challenge! :) (this "oscillator effect" is caused
by amplifying internal noise, and VST doesn't produce internal noise...)
the "without any external audio input" position
[
54
]
the "without any external audio input" position
Summary of Contents for Vertice
Page 1: ...USER S MANUAL...
Page 2: ......
Page 5: ...Dedicato a Walt Bruno e Lorenzina con immenso amore Stefano...
Page 68: ...Ratio et Cogitatio Unicam Fidem Sunt...
Page 69: ......
Page 70: ......
